Linguacultural Aspects of Uzbek National Subject Dances

International Journal of Trend in Scientific Research and Development (IJTSRD)
Special Issue on International Research Development and Scientific Excellence in Academic Life
Available Online: www.ijtsrd.com e-ISSN: 2456 – 6470
ID: IJTSRD38608 | Special Issue on International Research Development and Scientific Excellence in Academic Life Page 56
Linguacultural Aspects of Uzbek National Subject Dances
Hulkar Hamroeva
Candidate of Philological Sciences, Senior Lecturer,
State Choreography of Uzbekistan, Uzbekistan
ABSTRACT
The dance has a national color, which is embedded in the
socio-cultural life of the Uzbek people and reflects the
character and way of life of the people. It is extremely
important to study the dialectical principles of the art of
dance, which gives a person aesthetic pleasure, pleasure
and peace of mind, romantic inspiration, in connection
with the national character and centuries-old traditions,
spiritual values of the people. It is well known that social
realities, including the art of dance, develop in sync with
the times.
KEYWORDS: tradition, national color, choreographic
terminology, cultural heritage, folk customs, , amateur
dance, professional dance, subject dances, lagan, kayrak,
teapot, lyak, sozana, angishvona, durra
Uzbek national dance art consists of folk dance styles that
have been formed over the centuries. Some types of
dances have disappeared and new dances have appeared.
In particular, the role of the people in the creation of
ceremonial dances is invaluable. Therefore, the creator of
ceremonial dances, which form a whole system, is also the
people. These are the dances associated with the season or
work process, everyday life. "The study of the heritage of
the art of dance, the knowledge of the basic forms of dance
can serve as a basis for creative change, giving them a new
style, reflecting new views on the basis of ethical and
aesthetic standards, rules of etiquette that meet the needs
of different segments of modern society." [2]
Over the centuries, in line with the development of society
and culture, the art of choreography has also gradually
developed, forming dance styles, specific types and genres.
The Uzbek people are famous for their unique and ancient
culture, extremely valuable spiritual values. The
peculiarities of the art of national dance are fully reflected
in the interaction of performance and 1creative processes,
which are inextricably linked with the national character
of the people. According to art critic L. Avdeeva, "Dance is
a kind of modern and spatial art in which the artistic image
is created by the rhythmically organized, pictorial and
expressive movements of the human body"2 [1].
Well-known linguist R. Sayfullaeva rightly noted, “The
history of the formation and naming of each nation is a
1 Avdeeva L. From the history of Uzbek national dance.
National dance association "Uzbekraks" named after M.
Turgunbaeva. T.2001. B.-4.
2 Tsorn A.Ya. Grammar of dance art and choreography. St.
Petersburg, Izd. “Planet of Music”; 2011 329-s.
very complicated issue, often leading to various
controversies. This complexity in the study of the history
of all peoples also applies to the history of the Uzbek
people.3 This is due to the fact that in the history of its
formation, each nation has a long and close relationship
with different peoples, languages and cultures, and goes
through a long historical development until it rises to the
level of nation, people, nation. ” [2]
Uzbek national dance art consists of folk dance styles that
have been formed over the centuries. Some types of
dances have disappeared and new dances have appeared.
In particular, the role of the people in the creation of
ceremonial dances is invaluable. Therefore, the creator of
ceremonial dances, which form a whole system, is also the
people. These are the dances associated with the season or
work process, everyday life. "The study of the heritage of
the art of dance, the knowledge of the basic forms of dance
can serve as a basis for creative change, giving them a new
style, reflecting new views on the basis of ethical and
aesthetic standards, rules of etiquette that meet the needs
of different segments of modern society." [3]
The term “choreography” means everything that is the
basis of the concept of dance art in the broadest sense, or
the art of dance in the narrowest sense. Choreography is
the transmission of a person's thoughts, feelings, and
experiences through speech, movement, 4 and facial
expressions. Choreography consists of three parts: folk
dance, folk (or ball) dance, and classical ballet, including
the art of professional dance.
Uzbek dances can also be classified on this basis:
а) public folk dances and lapars of folklore performed at
public festivals, celebrations; б) non-professional dance
movements, amateur dances performed by the people in
ordinary everyday life, gossi5p, weddings, concerts; в)
dances as a work of art performed by professional dancers
and dancers, ensemble teams.
Dance has always played an important role in the
development of Uzbek culture has taken place. According
3 Decree of the President of the Republic of Uzbekistan "On
measures to further develop the Uzbek language and
improve language policy in our country", UzA, October 20,
2020
4 Berg E.B. Choreographic terminology in Russian. Diss.
kand.filol.nauk. Ekaterinburg, 1999
5 Qurbonov R. The mysterious world of art. Art 1, T. 2011.,
32-p.

International Journal of Trend in Scientific Research and Development (IJTSRD) @ www.ijtsrd.com eISSN: 2456-6470
to Rahmatjon Kurbanov6, a well-known performer of
Khorezm magic horses and Honored Artist of Uzbekistan,
“Dance is a very ancient art, born before the formation of
the human language. ... The level of a person who observes
the art of dance and understands its meaning is ten times
higher than that of a person who can listen to music. ”[4] It
can be said that the dance is deeply rooted in the socio-
cultural life of the Uzbek people and has a national color
that reflects the character and way of life of the people. It
is extremely important to study the dialectical principles
of the art of dance, which gives a person aesthetic
pleasure, pleasure and peace of mind, romantic
inspiration, in connection with the national character and
centuries-old traditions, spiritual values of the people.
It is well known that social realities, including the art of
dance, develop in sync with the times. Like other forms of
art, artistic generalization as a figurative image is a
spiritual wealth that enriches human spirituality,
cultivates aesthetic taste, teaches to understand the
concepts of beauty. Only in this case the figurativeness
arises through the harmony of the subtle expressive
movements of the human body. Dance costumes,
accessories, every elemental point helps to complement
this image. In the expression of dance, each nation reflects
the lines of its national-cultural world, national values,
and, in this respect, rises to the level of a unique work of
art.
One of the most important aspects of the years of
independence is that our fascinating art of dance, which
has been formed and polished for thousands of years, has
once again begun to show itself in al7l its beauty and
charm. Concepts and terms related to the art of Uzbek
dance have also become the property of the people as part
of the richness of language. It is important to study their
ethnosociolinguistic and culturological aspects.
Along with modern charming dances, our dances play an
important role in transmitting to the new generation the
features of the life, customs, lifestyle and profession of our
ancestors. After all, one of the achievements of the art of
dance is the harmonious expression of the national spirit,
national identity, along with modernity.
“There are two tendencies 8that express the interrelated
interaction of choreographic terminology and universal
language. On the one hand, the specialization of everyday
words in the field of choreography, on the other - the
determinologization of the general language of
choreographic words (for example, pa, anthracite). [5] For
example, the first trend is "finger play", "leaf fall", "flange",
"flower leaf", "tattoo", "snake trail", "tulip", "propeller",
"water wave". Language units such as “scales”,
“imagination”, “scissors”, “wings”, “buds” make up a
significant part of the terms used to describe concepts
related to the art of Uzbek dance. "When a lexeme is used
in a figurative sense, the noun semantics in its semema
6 Berg E.B. Choreographic terminology in Russian. Diss.
kand.filol.nauk. Ekaterinburg, 1999
7 Sayfullaeva R.R. Modern Uzbek literary language. study
guide. - Tashkent, 2006 100-b.
8 Sadokov L.R. »Musical archeology of ancient and
medieval Central Asia: percussion instruments.»
M.1996.s.35.
disappears, and the semantics of expression and function
increase in accordance with the speech reality." [6] Most
terms in Uzbek choreography are general lexemes, formed
by sign semantics of word semantics related to the
nationwide character.
However, in Uzbek choreographic terminology, the
phenomenon based on the second trend was no9t
observed. This is explained by the fact that the terms of
dance appeared almost on the basis of words in the Uzbek
language (sometimes Tajik in bilingual areas). The art of
dance is a unique musical and plastic expression of
creative figurative thinking, and Uzbek dances reflect the
life experience and skills, social status and national
character of our people formed over the centuries. From
this point of view, one of the most important aspects of the
art of dance of the Uzbek people, which bubbly
demonstrates nationalism, is subject dances. In his
research, the well-known Russian archeologist, Prof. L.R.
Sadokov, writes about percussion instruments, musical
circles where ceremonial songs were performed, and
dancers playing with plates, based on sources found in
Tuprakkala. [7] “Uzbek folk dance has been a tradition
since ancient times. For example, the girls' "Jar Dance" is a
plot dance that depicts the adventures of girls swimming
in the mountain river. In addition, dances such as "Teapot
Game", "Spoon Game", "Knife Game", "Stick Game", and
"Bowl Game" have existed since ancient times. " [8] Also,
if" Sadr "reflects a ceremony," Black Bell " - The black bell,
"Duchava" - means played with two sticks. "[9]
One such tool is the Uzbek tray. It is known that soup
(pilaf) is the royal dish of Uzbeks, it is usually prepared on
the days of Arafa, holidays, the most precious days, and the
tray is eaten by many people together. As an expression of
our national values, the men's dance "Lagan" appeared.
The expression of enthusiasm, arrogance, enthusiasm of
the Uzbek guys, as a unique example of the national color,
is gaining acclaim from the audience. Probably executed,
polished, and passed down to us over the centuries.
“Lagan dance has long been performed among our people
by talented people. This men's dance is created in the style
of Fergana, and the dance is performed to the
accompaniment of popular musical instruments such as
the circle, drums, trumpets, trumpets of our people. These
instruments are accompanied by sharp stones in the hands
of the dancer. Some authors call it the "Osh" dance. [10] In
our opinion, the name "Lagan" is more appropriate. During
the dance, the dancer will be in a white floral doppia with a
black rectangular garmdor. This doppia is moistened with
a little cold water as the soaked doppia sticks to the head
and serves to prevent the tray from slipping.
A forehead is tied over the dope so that it does not fall off.
He is wearing a bekasam coat and a white jacket. The ‘belt’
is a special rectangular scarf that is folded into a triangle
and tied at the waist. He then wears black pants and black
lacquered boots. The dancer also has two sharp stones in
his hand, one 16 cm long from the iron and the other 10
cm from the stone. The sharpen10ed stone is pressed into
9 Islomov D. National Dance Schools Magazine "Guliston",
2018 No. 5, p. 18.
10 G'ofurov N. Real masters of "Lagan" dance //
https://www.kultura.uz/view_2_r_9590.html

the palm of the hand with the help of a thumb. A sharp iron
stone is placed in the same way and struck with the help of
the third and fourth fingers of the hand. By lightly tapping
the sharp stones, the dancer creates techniques that have a
distinctive sound. This dance shows how agile the Uzbek
guys are, how much they amaze everyone by playing the
bowl in their hands in different ways, and how hospitable
the Uzbek people are. ”[11] I. Akilov, K. Muminov and N.
Ibragimov performed the“ Lagan ”dance. The Shermatovs
performed with skill and in a unique style.
Khorezm "Chanoq lazgi" also has a bowl. That's why
among the people "Chanoq lazgi" is also called "Lagan
lazgi". The dance begins as follows: The dancer stands in a
circle with a bowl in his hand, bows, and enters with his
feet into a small bowl. He greets the audience once more,
gesturing, "Bless me," and blesses his face with his hand.
begins, the hands rise high at lightning speed and freeze.
With traditional music, the hands come to life in the paws,
and the dancer begins to dance while standing upright in
the bowl:
The hands fall down slowly, with a gentle motion. The
fingers begin to vibrate to the music; Wavy motion and
nozbilan right hand rises upwards; The left arm also rises
and both vibrate in an equal position. In the trembling
position, the fingers of the first hand begin to separate
from the fingers of the second hand with a flirtation; The
fingers of the second hand come down with musical,
graceful movements; The feet stand alone in the bowl
without moving. Facial movements: eyes, eyebrows,
cheeks, lips, begin to make gestures in accordance with the
music; The condition of the "bowl lezgi" is that any action
is twice will not be repeated.
In the preface of the dance, he takes the bowl in his right
hand and goes around the circle. The hand holding the
bowl suddenly freezes. Then it rises high and begins to
vibrate.11 The dancer's wrists and shoulders begin to
tremble as if they are dying. The hand that lifts the bowl
begins to slide down with a musical movement and the
bowl passes to the left hand. His right hand (up, down)
claps and points to the bowl in his left hand. The dancer
skillfully moves the bowl from the palm of the hand to the
back of the palm. Turn your empty hand on the bowl and
dance. The dancer takes the bowl in his right or left hand
with different movements. In the vibrating movement of
his body, the dancer puts it on his head. The bowl seems to
stick to his head. The rhythm changes rapidly, and the
movements of the dancer's legs accelerate. He starts to
spin in a circle, snapping his fingers back and forth as if he
has forgotten the bowl on his head. As the music reaches
its climax, the dancer's 12movements become more
intense, and the bowl on his head seems to excite the
audience and fall. In the most exciting moments, the
dancer moves in a circle with one hand, takes the bowl on
his head with the other hand and completes the dance.
11 Uzbekistan "On measures to further develop the Uzbek
language and improve language policy in our country",
UzA, October 20, 2020
12 G'aniev S. Hamroeva H. Harmony of values: the national
dance art of the Uzbeks of Kazakhstan. Cultural
perspectives of the peoples of Central Asia. T.2020. B.-92
Issues such as the restoration, further development and
promotion of lost dances play an important role in
determining the place of dance in our cultural and
educational, social life. According to the People's Artist of
Uzbekistan, art historian and ethnographer G.
Matyakubova, “Khorezm art has become even richer due to
hard work. Folk clowning games, various mass games and
dances, especially customs and ceremonies, retain the
signs of antiquity in Khorezm and enrich it with modern
traditions, more than in other regions of Uzbekistan.
Special performers appeared in his seat, playing to the
sound of a trumpet, and he added to the interest and
nationality of the Khorezmian art of dance. ”[1] Indeed,
each national dance reflects the national characteristics of
the people to which it belongs and is closely connected
with folk music and songs, values, customs and traditions.
National dance is created by the people and marks an
important stage in its socio-cultural development.
According to the sources collected by the researcher M.
Hamidullaeva 17 Gavharhonim Matyokubova, "Kayrak
lazgisi" or "Kayroq oyun" appeared under the influence of
Zoroastrianism, ie in the process of driving the goddess of
evil Ahriman and his armies. admits. In "Kayrak Lezgis" or
"Kayrak Oyun", a method suitable for the13 melody is given
by beating and reviving the kayaks. The variety of methods
depends on the skill of the dancer or dancer. Dance
movements are used according to the methods and they
vary. "Kayrak Lazgisi" is performed by both boys and girls.
The "dance game" can be performed mainly by men's
dancers, solo dancers or in public. In the ensemble,
violence is required in the method of sharpening. In
Khorezm, the method is brilliant, as one of14 the two
blades is made of iron. [2]
In the Uzbek national dance art, in the Fergana Valley,
instead of kayraks, they dance with plates, and in
Surkhandarya and Kashkadarya regions, they dance with
knives, spoons and sticks. [4] “In Samarkand, dancers play
on a plate with an angishvana. In the Surkhandarya Valley,
women15 play with wooden spoons. ”[5] The origins of
these methods can be traced back to the daily lives and
lifestyles of our grandmothers, who were busy with
household chores. The gentle rhythmic tone that emerges
when the plate is tapped with an 16 angishvana or when
wooden spoons are gently tapped on each other creates a
special charm and increases emotional sensitivity in the
quiet women’s dances. Tamarakhonim, one of the masters
of Uzbek art, also performed the lapar "Khurshidi
13 See: Dance movements were prepared on the basis of
the following manual materials: Hamidova H.V.,
Sayfullaeva D.I., Zokirova S.M. Masterpieces of inherited
dance. Cholpon Publishing House, 2003, pp. 74-88.
14 Avdeeva L. From the history of Uzbek national dance.
National dance association "Uzbekraks" named after M.
Turgunbaeva. T.2001. B.-54.
15 Decree of the President of the Republic of Uzbekistan
"On measures to further develop the Uzbek language and
2020
16 Decree of the President of the Republic of Uzbekistan
"On measures to further develop the Uzbek language and
2020

toboniman" to the accompaniment of lyric and angishvona
melodies.
Surkhan oasis is famous for its men's dance "Knife". This
dance, which has a centuries-old tradition, is performed to
the accompaniment of a trumpet and a circle. The “knife”
dance is symbolic and has its own set of rules. Just like
wrestling, Surkhan has been decorating weddings since
ancient times. It mainly demonstrates the strong will,
courage, ingenuity, vigilance and agility of Uzbek guys. The
courage and strength of the dancers are evident in every
movement. The dance "Knife", which preserves the ancient
national features and national nature of the Uzbek people,
requires great 17 skill and agility. Its roots go back to the
people's struggle for national liberation and war.
The Uzbek people have many traditions related to knives.
According to experts, “The game of knives (knife ufori).
The dancers (only men) beat the blades of the knives
together to create a rhythm, and at the same time perform
simple and complex tricks: stab the two knives to the
ground and pass between them at the tip of one foot so
that the knives do not move.While playing the knives, the
dancer knives he grabs his knife and suddenly cuts off the
mustache of a staring spectator. ”[6]
Art critic L.Avdeeva notes that there is a bit of humor in
this dance. However, it should not be forgotten that the
knife is not an ordinary household item for the Uzbek
people, but a symbol of courage and bravery. Uzbek
dances, such as "Knife", which show the courage and
bravery of the audience and give aesthetic pleasure to the
audience, are a bright example of the living traditions
inherited from great ancestors.
In the subject dances analyzed above, we observed that
objects such as bowls, teapots, sharp stones, and knives
were directly involved as an integral element of the dance.
There is another series of dances in which, although the
objects are not directly involved, they are po18inted at by
dance movements, with the aim of revealing their essence
through plastic movements. For example, folk dances from
different regions of the country, labor-related dances such
as "Cotton", "Grapes", "Fisherman and Fish", "Shepherd"
depict the enjoyment of the labor process and the
harmony of huma19n experiences and emotions through
actions related to certain labor activities. the reference of
artistic thinking plates based on reality is aimed at
arousing aesthetic pleasure in the viewer.
In the Pilla dance, both methods are used, a mixture of live
use of objects and a method of pointing to certain objects.
Pilla dance was created by Mukarrama Turgunbaeva in
1952 in a new form and is performed in a circle. The dance
depicts the process of labor, from feeding a silkworm to
collecting cocoons, spinning on a loom, weaving cloth, and
sewing scarves decorated with patterns. This dance was
later staged by Mukarrama Turgunbaeva as a mass dance
for the band "Bahor". The dance is performed to the
accompaniment of a circle.
17 Karimova R. Bukhara dance. T., 1977 93-98-s.
18 Narzullaeva S. The role of Uzbek men's dance in the art
of folk dance https://www.kultura.uz
19 Murodova M. Folk art. (study guide). T., 2015 y. 48-b.
The dance is a play with several plots:
With the help of the "official ufori" movement, actions are
performed as if holding a mulberry branch. With hand
movements and shaking of the head to the side, it is as if
the situation is "throw, the silkworms are not well fed."
With the tip of the right foot in a position as if lifting a
basket, a stressed step is taken back. The knees bend. the
right hand is bent and the fingers are turned inwards as if
they had taken a mulberry branch from a basket, as if it
had put the branches into a silkworm. It is indicated to cut
a leaf from a mulberry branch.The hand throws the leaves
to the silkworms. Pulls the thread from the cocoon. The
drying action of the threads is characterized by the fine
movement of the fingers. As if a dancer is holding a bundle
of yarn. The hanging of the strings is described. Describes
the process of working on the machine.The durra is pulled
from the edge of the nimcha. The hands hold the edge of
the durra, the durra is brought forward and the face is
closed, the edge of the durra is held. The dancer throws the
durra on his head and gently holds the edge gives a gentle
greeting (bride greetings). After the salutation, the body is
straightened and rotated completely, slowly. Durra is
brought to the left, the head is bent to the right. Holding
the edge of the durra in front of the face, the spectator
faces the face, the durra stumbles and sits on the left knee,
the durra is placed on the right knee. All these movements
are performed while kneeling. The palm is brought to the
head and the skullcap is straightened. The waist is pulled
with both hands. Chevar movements (imaginary threading
a needle, inserting a needle into the hand, holding the
finger with the other hand to leave the pain) are
performed. The dancer turns the fingers of the right hand
over the fingers of the left hand, finishes the thread in her
mind, completes the stitching, and stretches the thread. He
takes the durra and stands up, shakes the durra, looks at
the circle, the body is slightly forward, the arms are
outstretched, as if he is handing the durra to the circle. The
circle goes to him, at which point he turns the durra and
holds the ends with his fingers. Wrapped around the circle,
he went from right to left and finished the durra. Hand
movements are performed in front of the circle, in the
palm of the left hand strikes the circle. [7] H.Khamidova,
D.Sayfullaeva, S.Zokirova's textbook "Masterpieces of
Heritage Dance" talks about the dance "Cocoon", "From
feeding silkworms to collecting cocoons, spinning on the
machine, weaving fabrics and sewing scarves decorated
with patterns described the process ”[8]. In the following
paragraphs, the word "durra" is used instead of "scarf":
Wrapped around the circle, he went from right to left and
finished the durra. ” [9] In the "Dictionary of Music" by
musicologist I.Akbarov it is said that "at the end of the
dance is danced with a silk scarf woven from silk" [10].
Even now, "groom's belts" are sewn separately. After all,
"in Uzbek, such expressions as" there is a belt on the waist,
the strength of the waist "are attributed to the young man.
Strength, bravery, bravery, service to the Motherland,
justification of the people's trust are applauded" [12]. An
explanatory dictionary of the Uzbek language defines a
quilt as follows: “A quilt is a rectangular fabric around
which flowers are usually sewn to tie a belt; a belt. ”
The long history of the Uzbek national dance art, the
process of its formation and the naming of dance
movements also have their own confusions and

ambiguities. Therefore, the names of Uzbek dances and
dance movements are, first of all, the priceless wealth of
our native language. This is an extremely topical issue
awaiting its researchers. One of the main spiritual-
spiritual-enlightenment pillars in the process of
understanding the national identity of our people is the
love for the native language and a sense of national pride.
The Decree of the President of the Republic of Uzbekistan
dated October 20, 2020 "On measures to further develop
the Uzbek language and improve language policy in our
country" states that "the Uzbek language should be
radically enhanced in the social life of our people and
internationally, patriotic, national traditions and values."
20upbringing in the spirit of devotion, ensuring the full
introduction of the state language in our country ”. In
short, the art of dance emerges as a result of combining
different movements in accordance with tone and rhythm,
which are specific to a particular ethnocultural group and
carry certain paralinguistic meanings for the members of
that group. Dance movements are not only related to a
person's activities, lifestyle, but also are filled with content
through gestures, which are an expression of inner
experiences, delicate emotions, and even gestures,
eyebrows. These movements and gestures have long been
artistically refined and polished.
Therefore, along with many other intangible cultural
heritage values, it is necessary to pass on to future
generations the rich experience accumulated in the art of
Uzbek national dance. "Preservation of the art of dance,
which embodies national values, customs and traditions,
as an ancient source of our spirituality and culture, the
restoration of its disappearing forms and movements,
terms, the nature of dance, its structure, performance
features, objects, clothing and jewelry." The scientific
study of the role of performance in complementing,
perfecting and polishing is one of the urgent tasks facing
the executive choreographer, organizer and researcher
working in the field of dance. ”[16]
To this end, one of the important issues facing the
scientific community is to improve the textual and video
recording system of dance performances, as well as to
create a special terminology of national dance names and
movements.
References:
[1] Decree of the President of the Republic of
Uzbekistan "On measures for further development
of the Uzbek language and improvement of
language policy in our country", UzA, October 20,
2020
[2] Avdeeva L. Dance art of Uzbekistan. T., State Fiction
Publishing House, 1960 y.
[3] Avdeeva L. From the history of Uzbek national
dance. National dance association "Uzbekraks"
named after M. Turgunbaeva. T.2001.
[4] Berg E.B. Choreographic terminology in Russian.
Diss. kand.filol.nauk. Ekaterinburg, 1999
20 G'aniev S. Hamroeva H. Harmony of values: the national
dance art of the Uzbeks of Kazakhstan. Cultural
perspectives of the peoples of Central Asia. T.2020. B.-92
[5] Islomov D. National Dance Schools Magazine
"Guliston", 2018 No. 5,
[6] Karimova R. Bukhara dance. T., 1977
[7] Matyoqubova G. Lazgi. T., 2020 y.
[8] Mahmud S. The Uzbek language is interesting.
“FAN”, T. 1994.
[9] Sadokov L.R. »Muzykalnaya archeologiya drevney i
srednevekovoy Sredney Azii: udarnye
instrumenty.» M.1996.
[10] Sayfullaeva R.R. Modern Uzbek literary language.
study guide. - Tashkent, 2006.
[11] Sayfullaeva R. Modern Uzbek language. Study guide.
T.2007.
[12] Tsorn A.Ya. Grammar of dance art and
choreography. St. Petersburg, Izd. “Planet of Music”;
2011
[13] Annotated Dictionary of the Uzbek Language,
Volume 5, T., UzME, 2008.
[14] OTIL, 5-j. T.2008.
[15] G'aniev S., Hamroeva H. Harmony of values: the
national dance art of the Uzbeks of Kazakhstan.
Cultural perspectives of the peoples of Central Asia.
T.2020.
[16] G'ofurov N. Real masters of "Lagan" dance // https:
www.kultura.uz/
[17] Hamidova X.V., Sayfullaeva D.I., Zokirova S.M.
Hereditary dance masterpieces. Cholpon Publishing
House, 2003.

Linguacultural Aspects of Uzbek National Subject Dances

Recommended

Recommended

More Related Content

What's hot

What's hot (20)

Similar to Linguacultural Aspects of Uzbek National Subject Dances

Similar to Linguacultural Aspects of Uzbek National Subject Dances (20)

More from YogeshIJTSRD

More from YogeshIJTSRD (20)

Recently uploaded

Recently uploaded (20)

Linguacultural Aspects of Uzbek National Subject Dances